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IroningBoard Records [Release date 01.04.26] On his 11th album now, successful songwriter (‘These Dreams’, ‘We Built This City’, ‘King Of Wishful Thinking’ and many more) Martin Page’s softly softly approach to his own material remains untouched. He tells us : … Continue reading →

The post Album review : MARTIN PAGE – The First And Last Freedom appeared first on Get Ready to ROCK!.

The lunchtime beers are already flowing, and Camden is buzzing with activity for day two of Desertfest. It’s already one in, one out at the Black Heart, with the queue snaking through the busy pub downstairs and onto the street.

Words: Ellie Odurny // Photos: Jessi Lotti, Sam Huddleston and Tim Bugbee

INSTAR SLING

Downstairs in the Underworld, things are decidedly less lively as Instar Sling launch into a relentless assault of brutal noise. Every drawn-out, downturned chord sounds like it’s been dragged through a mire and every snarled vocal is packed with venom. It’s slow, it’s dark and it’s crushingly heavy. They aren’t going to get any toes tapping or heads banging, but if you like your doom to be as bleak, sludgy and as smothering as possible, then Instar Sling are the band for you.

INHUMAN NATURE

The Roundhouse replaces the Electric Ballroom as the largest space for the weekend dates of Desertfest, so it’s a small trek up to Chalk Farm to watch Inhuman Nature in the opening slot. The London five-piece inject intensity into their set from the start, as hardcore-tinged vocals interplay with rapid thrash rhythms. Scattered over the weighty riffs and the occassional half-beat breakdowns are plenty of guitar solos that make full use of the fretboard, dishing out delightful metal squeals. The pace in general is much faster than a lot of the bands on the line-up, and even though the pit isn’t enormous or particularly ferocious, Inhuman Nature do a great job of blowing off any cobwebs from day one to hurtle into the second day of Desertfest at full velocity.

HARROWED

It’s a sprint back down the road to catch Kent trio Harrowed, who are busy trying to blow the roof off the Underworld with their raucously rapid metallic hardcore. Visceral vocals are screamed over ruthless drums and heavy-as-heck riffs. The set is full of the kind of aggression that constantly sounds like it has a purpose; always furious, never unhinged. Harrowed are ear-shatteringly loud, sure, but not just for the sake of it. There are elements of punk and death metal woven into the mix, adding texture and nuance to a technically impressive performance.

ELEPHANT TREE

It’s back to the Roundhouse again for Desertfest favourites Elephant Tree. The stoner/psych rockers bring a dreamy, groove-ridden mood to an increasingly-busy floor, as fuzzy guitars and entrancing beats wash over the crowd with ease. The tempo is slow and steady, with heads nodding along to the psychedelic, bluesy and occasionally doom-infused pulse. Not for the first time at Desertfest, the crowd sing happy birthday to bassist Peter Holland, the trailing cheers drowned out by hazy bass and laidback melodies.

PIGS PIGS PIGS PIGS PIGS PIGS PIGS

Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs always look like they’re having a fantastic time on stage. Their energy is infectious and it doesn’t take long for the Roundhouse crowd to work themselves into a frenzy in response. The bass thunders out into the rafters and trademark gravelly vocals power through to the very back of the room. The band have been carving out a space for themselves in the metal scene for the past 14 years and have developed an inimitable stage presence during that time. There’s no stillness to their operation; it’s a buzzing, energetic hive of activity that waxes and wanes through syncopated rhythms and churning guitars. Combining the groove of the early heavy metal scene with the driving rhythms of more upbeat stoner rock, Pigs Pigs Pigs Pigs Pigs Pigs Pigs deliver a set that has everyone bouncing and thrashing along from start to finish.

GREEN LUNG

It felt like every other person in Camden today was wearing some kind of Green Lung merchendise. The now-London locals have amassed quite the fanbase over the years, and it seems like most of them are here tonight for Green Lung’s inaugural Desertfest headline set. With the gathering masses still jostling to find the best spot, vocalist Tom Templar appears, bathed in a spotlight to deliver the opening bars of ‘The Harrowing’. A fittingly flamboyant beginning to a show that is steeped in occult iconography and folk mystery. Imagery aside, the production is (almost always) slick and confident, without veering into conceited territory. The guitar solos ooze old-school metal charm, and it’s quite something to see a tambourine being played so aggressively. New track ‘Evil In This House’ is a stomping tune, lapped up by the crowd and dripping with classic heavy metal flare. The slower numbers are heavy on the bass, with the theatrical vocals lifting a doomy low-end into something altogether more dramatic. It’s not all serious though. In a scene that could have been cut from ‘This Is Spinal Tap’, a mysterious creature appears on stage, only for the horned head to flip over backwards and render the beast virtually headless. It’s swiftly tossed back into place by a visibly amused Templar who carries on regardless with a smooth professionalism that epitomises a Green Lung show. There are layers of carefully constructed sound and there are moments of mildly self-indulgent guitar trilling, but overall, they’re just a whole lot of fun. For the finale, original bassist Andrew Cave joins the band on stage for ‘Let The Devil In’, with Joseph Ghast adding some brass flounce on saxophone. It’s another string to the proverbial bow of a Green Lung gig, and the camaraderie, cohesion and talent on stage are proof of why this band’s popularity is ever-growing.

Everyone loves a great comeback story, and so it’s a sincere pleasure to share with readers the return of Ryan McGarvey to the blues music world with the release of his brand new album, Up From The Ashes, set to be released on May 31, 2026. Due to health and life events, it has been eight years since the release of his last album, but McGarvey is now back doing what he loves. What he loves is playing guitar, writing, and performing.

Born almost forty years ago in New Mexico, he was named Guitar Center’s “Guitarmaggeddon: Next King Of The Blues” in 2006. He followed that by recording his first album, Forward In Reverse, in 2007, followed by three more studio albums and one live album through 2018. McGarvey was selected to perform by Eric Clapton at Clapton’s Crossroads Guitar Festival in 2010 and 2019. He has also shared stages with the likes of Jeff Beck, Joe Bonamassa, Kenny Wayne Shepherd, and B.B. King. He’s been nominated for, and has received, many musical awards in both the U.S. and European markets, so it’s fair to say that he has plenty of musical credibility preceding this brand new album release.

Appropriately titled, Up From The Ashes is loaded with Ryan McGarvey’s masterful guitar playing, particularly his soulful slide work. There is no skimping on quantity on this album either. It contains eleven songs, including a cover of a classic. Recorded at Rio Grande Studios in New Mexico, McGarvey is supported by a group of talented musicians, including Tony Franklin (bass on tracks 1, 7, and 11), Logan Miles Nix (drums), Artha Meadors (bass), and Brant Leeper (keys).

The recording opens with McGarvey’s first single release from this project, titled “Back To Life,” which is available on YouTube. This tune is an accurate reflection of McGarvey’s return to performing and recording as he sings, “You thought I was down for the count.” He continues with, “You don’t know what you’re talking about. Now you see that I’m here to stay. You can’t keep me down. I’m coming back to life.” You just can’t help but feel good about his return. This song also offers some of his fine slide work to kick this album off right.

The fourth cut on Up From The Ashes is “Gone Come Morning,” and it has a real Allman Brothers feel to it. McGarvey sings, “I’ve got a good mind baby to walk right out your door. I’ll be gone come morning, I just can’t take no more.” I absolutely love his slide work on this classic-styled blues number. The vocals here are strong and drenched in soul, and for me, this is where Ryan McGarvey sounds his very best.

“Cold Prison Cell” begins with what I call a stomp, clap, and slide and, again, it’s where he sounds right at home. The vocals are great, and the playing is right on the money. This song explodes and morphs into a rockier version of itself. “Now I’m writing you my love from my cold prison cell.” Some fiery picking carries this song to a great ending.

The last cut on Up From The Ashes is one that many of our readers might recognize. It is a smoking hot cover of Led Zeppelin’s “When The Levee Breaks.” There are very few folks who will attempt a recorded version of any Led Zeppelin tune, but Ryan McGarvey pulls it off and does a classy job of it as well. Again, as on every track of this album, his guitar work is a highlight and will be appreciated not only by listeners, but by every player who has ever held a guitar in their hands and called themselves a musician.

I can’t even begin to imagine the anxiety that Ryan McGarvey has endured in the creation of this brand new album after enduring the ups and downs of the past few years. We all know that old cliché about absence making the heart grow fonder, and based on this recording, it could very well be true.

Again, it is always great to witness people overcome adversity, and I wish Ryan McGarvey the very best as he continues his musical journey. Check out social media sites for upcoming events and go out and catch him live. I would also suggest that you grab a copy of Up From The Ashes and enjoy this recording for yourself.

And lastly, welcome back, Ryan McGarvey!

The Review: 8/10

Can’t Miss Tracks

– Back To Life
– Gone Come Morning
– Cold Prison Cell
– When The Levee Breaks

The Big Hit

– Gone Come Morning

The post Ryan McGarvey: Up From The Ashes Review appeared first on Blues Rock Review.

These days, Olivia Rodrigo is wearing a lot of babydoll dresses — short and frilly outfits that call back to the ’90s alt-rock aesthetic that she reveres. Rodrigo is building up to the release of her new album you seem pretty sad for a girl so in love, and she wore those babydoll dresses in her “Drop Dead” video and onstage at her Spotify Billions Club concert in Barcelona earlier this month. That specific stylistic choice has taken some people aback, and there’s been chatter about it online.

The post Olivia Rodrigo Addresses Babydoll Dress Controversy: “It Shows How We Really Normalize Pedophilia” appeared first on Stereogum.